Grayscale Wonderland 2 : Feb. 9 - March 12
Sculpture Maze : Feb. 13 - March 12
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Building Bridges Art Exchange (BBAX) is a non-profit (501) (C3) contemporary art Organization. Our mission is to cultivate cultural understanding through the arts. We facilitate a variety of international art exchanges, artist residencies, educational programs and workshops that engage local communities and contemporary artists across the globe. We work in partnership with museums, galleries, Ministries of Culture, cultural art centers, art organizations and foundations from around the world—at present we work with over 17 countries.
BUILDING BRIDGES ART EXCHANGE in a partnership with
The ITALIAN INSTITUTE of CULTURE LOS ANGELES
NOTES FOR THE RECONSTRUCTION OF BEAUTY
A solo exhibition curated by Gianluca Draghetti
with the assistance of Fabiana Evangelisti (Riccardo Mannelli archive).
"Riccardo Mannelli is not unknown in the US -- but when his compelling work is recognized, it is most often by fellow painters who admire his particular combination of advanced techniques in color and draftsmanship and the innovative, refined deliberations of composition he lavishes on his edgy content.
Yet it may prove to be the subversive sensuality of his ultra-modern figures and portraits, demonstrating a kind of feminism that is really a powerful revolutionary humanism, together with the rich tenor of his unbowed social and political commentary that will finally capture the imagination of a whole new generation of audiences." -- Shana Nys Dambrot
Woods Davy & Tom Lieber, Ingrávido
January 23 - February 27, 2016
Reception: Saturday, January 23, 5-7pm
January 23 - February 20, 2016
Opening Reception January 23, 2016, 6-8pm
New Roads School
Time/Frame is a group exhibition that explores themes of identity, the everyday and mundane, and visual narrative. From the streets of LA to strip malls, homes, private gardens and photography studios; the artists produced images that convey a sense of place; be it an actual location or conceptual representation. The work in this exhibit encourages the viewer to contemplate the definition of a successful image, one within a world inundated with pictures.
New York at Night
January 29, 2016 - February 19, 2016
Opening - February 30, 2016 from 7 pm to 9 pm
Vintage photographs (1920-1960) that view the City that never sleeps in the darkness of night.
John de Heras "Under the Influence of Fireflies"
At FIG, February 10 - March 12, 2016
Influenced by world cultures and exotic natural locales, the work of John de Heras is mind-boggling in its richness of detail, relentless patterning and luminous color. The artist travels the globe seeking out new visual experiences and has been especially influenced by ancient civilizations, archeological sites, and folk art, particularly that of Mesoamerica. The dazzling array of flora and fauna found in the rainforests of Mexico and Central America has emerged as a strong influence in his recent work. De Heras synthesizes these experiences through his own background in contemporary art, developing his unique style and the dizzyingly complex paintings, drawings and objects for which he has become known.
HILLARY GRUENBERG "Running After Hands"
January 9th through March 6th, 2016
Opening Reception, Saturday, January 9th, 6pm - 9pm
Lois Lambert Gallery presents Running After Hands a collection of works on paper by Hillary Gruenberg.
Gruenberg will be exhibiting a series of paintings made with gauche, watercolor and ink. "Running After Hands" was inspired by a poem by Anne Sexton called “The Play. This series demonstrates the artists’ ability to use her stream of consciousness to create a cohesive body of work that balances between raw emotion and her own ideas of the ideal self. The act of drawing for Gruenberg provides a way to interpret or re-imagine the past and present. Her artworks are not just explorations of things that have taken place they are also re-imagined dreams of what could have been or what will be. That hope and joy is present in her use of vibrant colors in gauche and watercolor.
According to Gruenberg, striving to be authentic brings about both disappointment and joy. In the poem “The Play,” Anne Sexton writes a line “The play is my life, my solo act. My running after hands and never catching up.” Gruenberg’s paintings act as a similar confession to her own intimate ideas of self, portraying with her own imagery all the aspects of her own life. For Gruenberg it is the hands that allow you to make and achieve in the world as an artist. The idea of the hands from Sexton’s poem haunts Gruenberg’s work continuously showing itself in patterns and compositions through out her paintings. Hillary Gruenberg studied at Otis College of Art and Design and has been awarded a grant from Women Painters West. Gruenberg is a student of Tom Wudl in Los Angeles.
COAST TO COLOR
Jan 7 - Mar 5
Exhibiting Artists: Cara Barer, Jordan Eagles, James Lecce, Maureen McQuillan, Katherine Rohrbacher, Katherine Tzu-Lan Mann
Representing artists from across the east and west coasts, COAST TO COLOR delivers a vibrant selection of color-intensive works from seven artists that challenge the limitations set forth by traditional media to bring forth expressive ignitions of color.
coast (verb): “to continue to move or advance after effort has ceased;keep going on acquired momentum.”
Drawing reference from Pointillist techniques, Randall Stoltzfus builds continuous, intricately layered circular patterns with oil, adding carefully selected pigments, gold leaf, and other media to produce abstract horizons of deep blue and white. From afar, this textured layering produces a celestial glow of nearly distinguishable forms that emerge from indigo shadows. Meanwhile, the deeply pigmented, iridescent burgundy of Jordan Eagles’ resin encased works composed of bovine blood and mixed media produce a contrasting visceral effect. Color is made reflective and commodified in solid form - suspended just out of reach behind its glassy surface, part-art and part-scientific specimen.
For artist James Lecce, color and form are fluidly intertwined - elegant shapes emerge from pools of mixed pigments and acrylic emulsion, poured with calculated precision. These liquid formations surge in a rippled sea of greens and violets wrapped in metallic veins of gold and silver. Maureen McQuillan adopts a similarly labor-intensive method - slowly and repetitively laying ink lines in layers of acrylic polymer. Manipulating these agents to fold and bend into ribboned spirals, the colorful optic patterns left behind seemingly reverberate to the surface below.
Artist Cara Barer channels familiar iconography in her still life photographs - dyed book pages from obsolete, discarded novels are ruffled and carefully arranged in circular forms, much like spiritual mandalas or blooming flowers. Transformed by color and arrangement, these books are equipped to take on new meanings as sculptural objects that are photographed and printed at a large scale - blurring the lines between object, sculpture, and photography. Katherine Tzu-Lan Mann similarly creates recurring circular shapes - staining paper and dripping paint as a base for her spherical “Cauldron” compositions surge and splatter color across delicate white yupo paper. For Katherine Rohrbacher, color serves as an effusive communicative device - balancing monochrome black and white with colorful pattern and glitter work in a constant push and pull throughout her “Rohrsacher” portraiture.
COAST TO COLOR highlights the infinite vocabulary of color through a range of media; serving as a psychological and communicative tool in engaging with the viewer and their response.
Visit LILLA BELLO in Bergamot Station. Fresh, daily florals, event and wedding styling, and a specially curated lifestyle shop await in F1b
Lora Schlesinger is pleased to announce She’s Becoming, Lani Emanuel’s first solo-exhibition with the gallery. The exhibition opens with the artist’s reception on Saturday, January 30th from 5-7 pm and is on view through March 12 , 2016. Lani’s paintings depict young women’s social dynamics, their emotions, and self-awareness that can occur during the transition from childhood to womanhood. Her paintings explore the subtleties of a transitional time that can be the most emotional and formative period of a young woman’s life.
Lani’s figures of young women portray emotion and identity by focusing on body language, gesture and gaze. She captures each figure’s self-expression through their wardrobe. For most adolescent girls, fashion is a means of self-expression that allows for identity experimentation. As a former fashion designer Lani places emphasis on clothing, and makes it an integral part of her work. She places the figures in minimal environments to prevent distractions, allowing the viewer to more carefully consider the young woman. She uses a limited color palette of white, yellow-ochre, red and black creating a tonal range that is equally surprising as it is accomplished.
Lani Emanuel received her Master of Fine Arts Degree from Laguna College of Art and Design and a Bachelor of Fine Arts Degree from Art Center College of Art and Design. She has an Associates Degree from the Fashion Institute of Design and Merchandising. She has exhibited at the Carnegie Art Museum, the Laguna Art Museum, and has received awards from Laguna Beach City Hall and SCOREVIII Southern California Open Regional Exhibition’s First Place Award.
Lora Schlesinger Gallery originated in 1975 as Hunsaker/Schlesinger Fine Art.
Lora Schlesinger Gallery exhibits contemporary art, both figurative and abstract. Focusing primarily on California based painters and sculptors, the gallery represents established and emerging artists.
We also act as art advisors to designers, architects, corporations and private clients.
Focusing on museum quality installations showcasing emerging artists, Copro also exhibits many established and master painters. Placing works in museums and private collections throughout the world, Copro strives to assist collectors new and experienced in building the most exciting collections possible.
Jeff Wall @ Patrick Painter, Inc.
Patrick Painter is pleased to present an exhibition featuring a selection of photographs by iconic artist Jeff Wall.
Russell Tyler Collision Course (East Gallery)
Matt Mignanelli, Brian Rochefort, and Russell Tyler (West Gallery)
February 20th - March 19th, 2016
Born 1981 in Summertown, Tennessee. Lives and works in Brooklyn, New York. Tyler received his MFA from Pratt Institute in Brooklyn and BFA from Concordia University in Montreal.
Tyler’s practice consists of two complementary qualities: the gestural and the hard edge, or geometric.
The geometric paintings are redolent of both the history of abstract painting as well as the contemporary image space of the computer screen. While sensuous and tactile, with expressively applied oil paint and rich impasto, the work is also highly structured and unfolds with deliberate shifts in color schemes and forms. The work invites a playful dialogue with several dueling movements from the history of abstraction, including Minimalism, Concrete Art, and Expressionism. While Tyler’s work shows the strong influence of artists from these movements such as Josef Albers, the work is also distinctly of its time, related to digital technologies both outmoded and new. The unfolding blocks of color refer to the computer’s organization of virtual dimensional space on a flat surface.
The gestural paintings push the boundaries of confined space by allowing a certain cosmic wildness in which colors collide. Clearly influenced by Philip Guston and Cy Twombly, the work allows for drips, splotches, and textures which are meaningfully applied or randomly allowed to come through on the surface.
Tyler has had solo exhibitions at Denny Gallery in New York, B15 Gallery in Copenhagen and EbersMoore Gallery in Chicago. He has received press coverage in Artforum, The New York Times, NY Arts Magazine, and La Monde.
Born in 1983 in Providence, Rhode Island. Lives and works in New York City. Mignanelli received his BFA from Rhode Island School of Design, Rhode Island, in 2005 and was an Artist in Residence at Vermont Studio Center, Johnson, Vermont, in 2001.
This exhibition will present six new paintings and marks a return to color after more than four years of working strictly monochromatically.
In these new works, Mignanelli’s approach to painting has evolved from subtle monochromes to a stark black / white, deep blue / white, and deep blue / black palette. While continuing to explore relationships between structure and nature, which are relayed through the use of harsh light and shadow against architectural elements, Mignanelli has been reexamining the evolving interactions amongst light and surface in these works.
The hard edge is applied over gestural strokes and drips of the background. Mignanelli allows for the hand to come through again on his surface through the use of hand-painted shapes and the imperfections the human hand creates amongst them. Chance enters into these paintings through the mode of execution; the works are all painted flat on a table. As Mignanelli moves around the work, painting in sections, the viscous enamel splashes and drips into the negative spaces. This spontaneity that emerges makes the paintings feel alive, and have allowed the works to become much more about painting itself.
The subtle variation of shapes in each painting creates areas of “disruption” within these environments. The visual breaks within the repetition of shape create a movement that forces the eye to dance.
The return to color in Mignanelli’s works has been marked by another significant change in his life, the birth of his daughter this past summer. The many sleepless nights that followed changed his work. The midnight blues of the night sky, and the early morning light inspired the deep blue palette for these new works. There is a certain serenity in the palette, representing those peaceful moments when the world is still asleep.
Mignanelli has had recent solo exhibitions at Grattan Street, LUCE Gallery in Torino, Italy, and Marianne Friis Gallery in Copenhagen, Denmark.
Born and raised in Rhode Island. Lives and works in Los Angeles, California. Rochefort received his BFA in Ceramics at the Rhode Island School of Design in 2007.
Rochefort is a mixed media sculptor working in ceramics, glaze (on vessels) and automotive paint (on sculpture). He was awarded the Lillian Fellowship from the Archie Bray Foundation for the Ceramic Arts in Helena, Montana 2007-2008.
Rochefort's vessels, ceramic “paintings” and sculptures flaunt the anxious and risky mindset of disorder and chaos in the face of the viewer, reminding us that the Horror Vacui exists. His works are homages to both AbEx and contemporary painting, he builds layers slowly and uses multiple firings in his quest for texture.
The seductive messes and goo that spread out in our lives, regardless of our attempts to contain them, are the insistent presence at the forefront of the work. Freezing untidy, mucky moments, the works scream at us to pay attention to their nauseous ornament, throwing up our most base fun-house selves, celebrating the pleasure, beauty and horror of the entirety of what is worldly and human.
Rochefort has had recent exhibitions at Sorry We're Closed, Brussels, Retrospective Gallery, Hudson, New York, and Vault Exhibition, American Museum of Ceramic Art, AMOCA, Pomona, California.
Julian Wasser: Duchamp in Pasadena Redux
January 16 - March 26, 2016
The Body Electric
Photographs by Jeff Charbonneau & Eliza French
April 2 - May 6, 2016
In conjunction with MOPLA
ROSEGALLERY is pleased to present the second installment of Her First Meteorite. A selection of process based photographs that feature the work of seven artists: Dirk Braeckman, James Gallagher, Melinda Gibson, Ken Graves, Yoko Kanayama, Summer Mann Sebastian Riemer, accompanied by a selection of Civil War tintypes. The exhibition will be on view from 12 December 2015 through 13 February 2016.
From experimenting with light sensitive, unconventional photographic papers, to repurposing salvaged negatives, the use of secondary processes within Her First Meteorite, Volume II, challenges the boundaries of the medium of photography. By allowing the works to enter the world of the surreal, this exhibition invites the viewer to question the identity of the visuals presented.
Through the use of experimental paper based images, pigment prints and temporal processes, Dirk Braeckman, James Gallagher, Sebastian Riemer, and the Civil War tintypes, utilize photographic abstraction to call attention to the dynamism of the human identity. While Gallagher, Riemer and the tintypes apply a traditional portrait image, the temporal component intrinsic to the tintype process, as well as the application of pigment and collage to the image, mirrors Braeckman’s time sensitive light processes. Through exploring time intensive, alternate uses of the medium’s essential components, Braeckman, Gallagher, Riemer and the tintypes work together to create an active and layered human narrative.
By stepping outside traditional processes to rediscover the photographic medium, Melinda Gibson, Kenneth Graves, Yoko Kanayama, and Summer Mann, utilize secondary processes and photographic collage in order to blur the boundaries of self-identity and complicate the understanding of contemporary cultures. By focusing on the use of details and multiple layers within the photographic process, Gibson, Graves, Kanayama and Mann bring to light the socio-cultural narratives within the historical and contemporary urban landscape.
While revealing the processes behind its creation, Her First Meteorite, Volume II, works to deconstruct and complicate the universal “truth” of the photograph and challenge traditional forms of representation.
Currently considering consignments for our next live public art auction
Sunday June 5, 2016
January 09-February 06, 2016
Opening Reception January 9th 5-7pm
Shoshana Wayne Gallery is pleased to present Misaligned a new solo exhibition by Philip Argent. This is the artist’s fourth show with the gallery. Misalinged continues Argent’s refined interpretation of the swift flow of digital information and tempers that rapidity with his meticulous handmade acrylic on canvas paintings. Balancing digitization with traditional painting has become Argent’s signature and this new body of work takes the artist’s interest in spatiality, temporality, and digitization further as he exhibits a more experimental painting style. The subtle texture and randomness are a result of new methods employed by Argent who, for example, has used rubber dipped in paint to apply a sort of “print” to many of the paintings surfaces.
For Argent, Misaligned refers to the proclivity of the new work to suggest a tenuous relationship between different spaces and surfaces coexisting in one painting; a relationship that questions the stability of the overall composition as a whole, whilst inviting questions as to what is revealed and what is hidden. For example, in Untitled (Displaced) a flat and off-centered coral-colored surface cuts through the painting from top to bottom, as it does so it covers or conceals an implied space on the left side while on the right edge, curvilinear shapes or remnants suggest the inclusion of further abbreviated imagery or forms. Here, the possibility of some sort of continuation or disruption is key.
Concerned with the current cultural landscape, Argent’s Misaligned also suggests a cultural phenomenon that we are all familiar with as we scroll, flip, and touchscreen our way through the image glut—the slippage between which any sense of a stable or logical whole is left unchecked and unresolved. Argent’s painterly iteration of such slippage rests in his use of black space—a spatiality that is both present and absent as it exists in plain sight on the canvas but is also boundless paving the way for all sorts of information (tangible and intangible) to stand in its place.
Philip Argent received an M.F.A. from UNLV and a B.A. with honors from Cheltenham School of Art. He has exhibited nationally and internationally at institutions such MOCA, Cleveland; the Cranbrook Art Museum, MI; Mannheim Kunstverein; and the Young Eun Museum of Contemporary Art, Kwangju, Korea. This spring twelve of Argent’s paintings will be in DATAStream at the Center for the Arts at Virginia Tech. His work can be found in the permanent collection of MoMA, NY; Albright-Knox, NY; and the Santa Barbara Museum of Art. The artist lives and works in Santa Barbara and teaches in the Department of Art at UC Santa Barbara.
For more information contact Alana Parpal firstname.lastname@example.org
GRAVITY - the force responsible for the creation of our universe and the dominant cause for the formation, shape and orbit of astronomical bodies including stars, planets and even galaxies - provides the thematic thrust for a group exhibition featuring ceramics, cyanotypes, line drawing, photographs on newsprint and scratchboard by Laura Forman, Alia Malley, Elizabeth Orleans, Jason Peters and Karley Sullivan.
The exhibition is anchored by an installation from recent CalArts graduate, Karley Sullivan, illustrating the fifty-three named moons of Saturn. Culled from an ambitious project titled Mooning Scratch, in which Sullivan depicts each of the named moons of our solar system, Saturn’s Moons is comprised of fifty-three individual 5 x 7 inch scratchboards displayed in a grid format resembling a wall-sized classification chart. Sullivan’s references are drawn from found photographic images she seeks out via Google searches and Wikipedia, though previously unphotographed moons are rendered from the artist’s interpretation of empirical data and diagrams. Intimate in scale, the individual works are graphically striking examples of artful mark-making and meditational labor that together, form a compelling examination of dominant systems of knowledge.
Laura Forman’s cycle of twenty cyanotypes, also presented as a grid, records the earth’s rotation and revolution around the sun. Tracking the sun from her studio each day for twenty consecutive days at thirty minute intervals, the artist observes and captures our planet’s movement through the solar system using the simplest of materials; sunlight, water and light sensitive paper. The result is both a working experiment and an abstract meditation on our place in the universe.
Jason Peters is known for his large-scale, site-specific installations, which utilize light, and discarded items assembled into repetitive designs. His work invites a transformative experience whereby a feeling of disorientation gives way to the delight of solving visual puzzles and the enjoyment of graceful patterns that play upon the eyes. Like his installations, Peter’s intricate drawings, made with silver ink on black paper, exploit the rhythmic use of materials to generate a seemingly unstable field of geometric forms filled with tension and dynamism.
An imposing ceramic sculpture by Elizabeth Orleans also relies on geometry and repetition. At eight feet long, Growth Cycle, illustrates the movement of an orb through space. From one side of this double-sided work, the viewer experiences the convex form of a sphere emerging from within an opening or hole, while on the opposite side, the concave aspect of the sphere invites viewers to peer inward, where light casts shadows on receding negative space. An implied movement along a fixed trajectory, much like an orbit, and a sense of duration and transformation highlight this ambitious work.
Alia Malley’s photographs on newsprint are convincing depictions of distant planets combining the quality of newspaper clippings from the golden age of NASA’s Apollo program, with the pop sensibility of films like Star Wars. Propelled by the idea that our perception of the landscape is irrevocably mediated by images we’ve seen before, Malley’s work draws upon historical records of early space exploration, 19th Century survey photography of the American Southwest and Hollywood films from John Ford’sThe Searchers to Capricorn One, to produce otherworldly landscapes that ask what is real and what is fiction.
LAURA FORMAN received her BFA from CalArts (2005). She is a multimedia artist and former studio assistant to artists Charles Gaines and Mike Kelley. Originally from Oak Park, Illinois, she lives and maintains a studio in Los Angeles.
ALIA MALLEY received her BA in Critical Studies from USC School of Cinematic Arts and her MFA in Visual Arts from UC Riverside (2010). She works with still photography and video and has produced two publications of her photographs to date. Born in La Jolla, CA, she lives and works in Los Angeles.
ELIZABETH ORLEANS earned a BFA in ceramics from Tulane University, New Orleans, and her MFA from California College of Arts and Crafts in Oakland, CA. Originally from Philadelphia, the artist maintains a studio in Venice, CA.
JASON PETERS received his BFA in Sculpture from Maryland Institute College of Art, Baltimore, MD (1999). He has produced large-scale, site-specific installations around the U.S. and abroad at venues such as Pittsburgh’s The Mattress Factory and the Bemis Center for Contemporary Arts, Omaha, NE. He lives and works in Brooklyn, NY.
KARLEY SULLIVAN received her BFA in Drawing from the University of Tennessee, Knoxville, TN and her MFA in Photography and Media at CalArts (2015). Raised in and out of a commune in the foothills of the Appalachian Mountains, the artist currently lives and works in Los Angeles.
Betty Sheinbaum - BETWEEN THE LINES
In her latest body of work, entitled Between the Lines, artist Betty Sheinbaum continues to explore the mysteries and challenges of painting. Feeling there is no right way to create an image, Sheinbaum says the final outcome of her work is always left up to fate. With an undetermined end goal, she is constantly looking, learning, and imagining new ways to feel fulfilled. For Sheinbaum, a painting is continually open ended.
Always in search of new ideas to put on canvas, Sheinbaum finds inspiration in learning. As a constant student eager to see things from a new perspective, Sheinbaum says her work is never a mission accomplished.”
Joe Kabriel - INSPIRATION ROAD
Joe Kabriel’s recent works draw inspiration from the shorelines and canyon roads of Southern California. Varying rock formations play a seminal role in many of Kabriel’s images. As he notes, “Some cultures believe that rocks contain spiritual energy, which when released provides enlightenment. People hold energy as well and, like rocks, are shaped by life events.” Kabriel uses this juxtaposition of rocks and energy in his work as a metaphor for exploring the relationship between life’s forces, inspiration, and enlightenment.
Many of the pieces in Kabriel’s exhibition, entitled Inspiration Road, begin as an exploration of ideas and images in a sketchbook. From the sketchbook the work is assessed to determine which images will be reworked into larger traditional drawings using subtle chiaroscuro techniques, or which become more dream like images using encaustic wax. Other examples of his work use a combination of different sized canvas panels to create the structure for his oversized paintings.
Jimi Gleason: Surface And Light
January 30 - March 19, 2016
The William Turner Gallery is pleased to announce our upcoming solo exhibition, Jimi Gleason : Surface and Light. Jimi Gleason's paintings are enigmatic. They emphasize seductive surfaces, which reveal no trace of traditional paint application. These mysterious surfaces are highly reactive to light, position and viewer - acting as catalysts for shifting perceptions. They are immediately understandable as paintings, though it’s difficult to imagine how they were created. Through the use of non-traditional materials and luminescent silver deposit, Gleason creates works that inspire an intimate reflection on the essence of how we perceive and experience the world around us.
Gleason’s most recent body of work is consistent with the iridescent paintings he has developed over the last decade, but marks a radical departure in execution. Using a silver-deposit surface coat, Gleason creates paintings that are ethereal and glassy - sheets of solid vapor that respond and react to the play of light and their environment. These newest paintings are saturated with brilliant colors - bright coppers, rich ceruleans and glowing golds - adding more depth to the already lustrous surfaces, which seem to emanate light from within.
Uniting hard-edge geometric forms with his sensuously luminous surfaces, Gleason boldly breaks up the picture plane into alternating fields of texture. The effect is a hypnotic and prismatic visual structure, where light, color and form intersect in ever-changing play. These dynamic surfaces engage the viewer and urge them to explore the infinite experiential possibilities of art.
Born in Newport Beach, CA, Gleason received his BA from UC Berkeley in 1985. He studied printmaking at the San Francisco Art Institute before relocating to New York City, where he worked as a photo assistant and photo technician. Returning to California, Gleason was employed in the studio of Ed Moses for five years. Combining the disparate technical and compositional skills developed during his exposure to printmaking, photography and mixed-media painting, Gleason is now the subject of considerable curatorial and critical applause. His work is exhibited in significant public institutions, including the Armand Hammer Museum, the Long Beach Museum of Art, the Seattle Art Museum, the Tucson Museum of Art and the Frederick R. Weisman Foundation. The artist’s paintings are actively collected by a growing number of major public and private collections around the world.